On August 20 at River Fest Park in Buffalo, Buffalo Music Coalition will bring the Summer of Love from 1967 all the way to 2022 with “Summer of Love ’22 – A Buffalo Salute to the Monterey Pop Festival.”
Comprised of a group of music lovers and musicians, The Buffalo Music Coalition was organized in 2018 to produce unique shows they thought the public would like to see. Starting with East Aurora Music Festival, the following year they organized a Woodstock Celebration in 2019 at River Fest Park with local musicians from across the Buffalo area, with more than 1500 fans in attendance. Then in February 2022, the Coalition held “Girls Just Wanna Have Fun” at Sportsmen’s Tavern, highlighting some of Buffalo’s best female performers.
For 2022, a celebration of the 1967 Monterey Pop Festival is on the table, once again held at River Fest Park with performances from local musicians, including some who took part in the Woodstock celebration, and plenty of new faces.
At River Fest park, there will be food trucks and vendors contributing to the fun, which kicks off at 4pm on Saturday, August 20 and runs until 11pm. This is a rain or shine event. Bring a lawn chair but no outside food or drink are allowed in the venue. Pick up your tickets here.
On Thursday, August 4, an electric and explosive night to remember, ROT$ Worldwide, Inc. hosted their very own INTERN$ 22 RAGER underground artist showcase in Manhattan. These individuals, all relatively young, received the opportunity to present their artistry to one of the most musically creative and diverse cities in the world.
Photo Credit: Courtney Griffin
According to Tiffany Swiney, Cofounder of ROT$ Worldwide, Inc., a communications agency with a focus on creative thinking free from socio-economic barriers, the company’s five summer interns brainstormed on a collective project, which in the end became the INTERN$ 22 RAGER event. Their challenge was to fulfill the behind-the-scenes tasks in preparation for the showcase. More specifically, the given instructions were to find a venue and several underground upcoming artists. After intense research, the location chosen was 404 Broadway New York, NY and those selected to perform were Arson, INDiGO, NuuDetta!, Fasquiat, Tenahoni, Hendo, Ka$hKenni, Vas, SANDWCH BOI, Daytona Levell, and Slick2x, along with a few others who were guests on different sets.
ROT$ is all about bringing young NYC creatives together in a safe space to sharpen their skills. It was so great to see everyone working together to hype the performers, get their content in, network, and to just be free.
Tiffany Swiney
Arson, one of the performers of the night and the show’s MC, shed light on how the theme came to be. What worked best for everyone was “nightclub rager,” a show with music to last a lifetime. According to Arson, the main genres of the night were rap, emo, trap, and alternative. The intention of this event was to show the diversity of and bring back the great energy from the NYC underground artist scene. After three weeks of preparation for the show, each performer developed an unwavering supportive family bond with one another.
Photo Credit: Courtney Griffin
Although this was Arson’s first opportunity as an MC, the sky was the limit, as she so effortlessly captivated the crowd with her magnetic energy. Her brand began in a middle school parent-teacher conference, in which she was told she has a fire in her. The name Arson began to encapsulate who she is, as she grew up more secure and self-confident. Regardless of Thursday being her second musical performance, her fiery stage presence left her audience in awe.
Photo Credit: Courtney Griffin
I’m in love with who I was because she bled and fought for me today. I try to inspire as many people as I can and lend a warm safe space for people wherever I go. I have high energy, a fire burning bright in my soul and I feel like it comes out in my music. I will always be Elizabeth, but I’m also Arson.
Arson
Similarly to Arson, melodic, trap, and plugg rapper Ka$hKenni discovered their name as a result of their past. Since they were younger, their luck of finding random amounts of cash has yet to cease. Considering Ka$hKenni is perceived to be high class as well, they thought money should be incorporated into their rap name, with the meaning of luck and good fortune.
Ka$hKenni has been creating music for almost two years now, with her first performance at the INTERN$ 22 RAGER event. Ka$hKenni’s favorite song to perform on Thursday was “Find Me,” because of how suspenseful and intriguing the buildup of the 808s are. Nonetheless, it holds a special place in their heart because it was produced with their brother. After discovering the beat for the song, Ka$hKenni was not too fond of it at first, but their brother encouraged them to record to it, in case of a change of heart.
Photo Credit: Courtney Griffin
I didn’t know what kind of flow I wanted to have over the track, and I was stuck. I started thinking more and writing and that’s when I got the hang of it. It reminds me of something old Chief Keef would hop on and that inspired me to keep writing. I wanted the chorus to be very simple and I wanted to sing a little and that’s exactly what I did. We made that song in less than 30 minutes. The next day we played it on the speaker, and we honestly were shocked. I couldn’t believe I could make something like that. I played it for my friends and my brother played it for his and they couldn’t believe we made such a hit.
Ka$hKenni
Sometimes people have to step outside of their comfort zone to reach a new level in their life, and Ka$hKenni is a prime example of this. Ultimately, they want to be remembered as the one who never gave up.
Although the last to showcase their music, Slick2x’s artistry was nothing less than emotional, powerful, and moving. He said music means everything to him, which was undoubtedly noticeable. His performance is yet another step in the right direction, towards success and fulfilling the promise he made to his brother to always follow his dreams three days before his passing.
Photo credit: Courtney Griffin
Every artist has a different journey and personal motivation for fulfilling their music dreams. For Daytona Levell, developing as an artist was a challenge. Nonetheless, nothing deterred him from moving forward and pushing himself against all odds, even 100 to 1.
Photo Credit: Courtney Griffin
I have had a tough journey and at one point did not know what my image and brand should be. However, I decided to do what I love, and it came natural to me.
Daytona Levell
Artist, actor, and creative visionary SANDWCH BOI, chose his name as a joke in high school, during a rap battle and held onto it ever since. His artistry and persona differ exponentially from the average person, which is why his rap name falls under the same concept.
Even though Thursday night was SANDWCH BOI’s first time performing his own music, he’s been grasping his audience since 10-years-old, as an actor within the theater community. Therefore, his self-confidence only grew as the INTERN$ 22 RAGER event neared, especially with the support of his brother and friends, of whom the majority are fellow creatives.
Photo Credit: Courtney Griffin
I had time to watch my friends grow in their craft and when it was my time to shine, they were nothing but supportive. We were just feeding off of each other’s energy it was amazing.
SANDWCH BOI
Out of SANDWCH BOI’s discography, “Saturn” was his favorite to perform at the showcase because of its amped up energy that gets the crowd jumping. Interestingly enough, “Saturn” is a freestyle that was made in just one take, a skill that usually takes years to master, because of how raw it is.
Photo Credit: Courtney Griffin
Considering how his performance created a shift in the night, with multiple mosh pits, everyone’s full attention and endless smiles to go around the room, SANDWCH BOI’s wish to have people “remember seeing this dude in an orange mask going crazy and turning the whole spot up” will undeniably be granted.
INTERN$ 22 RAGER will forever be a night of great nostalgia and euphoria for everyone in attendance, especially for the performers. This was an unforgettable learning experience for the artists involved and will help each one of them grow not only within their craft, but with their audience as well. August 4th, 2022 will forever be a raging night full of immeasurable vibes and timeless music.
Charismatic Connecticut improv rockers Eggy made a memorable debut in Woodstock on Friday, August 5th. Billed as the first ever ‘Midnight Scramble’ at the legendary Levon Helm Studios, the intimate and acoustically ideal venue provided the perfect space to serve up a verified barn burner. Featuring both an acoustic set and an electric set and surrounded by relatives and longtime friends, the entire evening had a true family affair feel and surprises no one saw coming.
Eggy kicked off their inaugural ‘Midnight Scramble’ with an acoustic set at Levon Helm Studios (8/5/22)
Eggy, comprised of guitarist and vocalist Jake Brownstein, keyboardist Dani Battat, bassist Michael Goodman and drummer Alex Bailey, take their name in loving memory of their late friend, Edward “Eggy” Torrence. Always in their thoughts, the emotional evening in Woodstock took place the same weekend as the five year anniversary of his passing. The significance not lost on the band, prior to the show members of Eggy let it be known via social media just how much playing the historic venue means to them. ‘The Midnight Scramble’ of course, is their way of paying homage to the legendary ‘Midnight Ramble” events that have taken place on the same property since even before Levon Helm‘s passing in 2012. Widely considered sacred musical ground, Brownstein revealed his first road trip after getting his driver’s license was to “The Barn” and the opportunity to grace the same stage was undoubtedly a milestone for the band.
Eggy’s Jake Brownstein and Alex Bailey sing their hearts out at The Barn (8/5/22)
Opting to play the show using Levon’s beautiful red drum kit, the acoustic portion of the evening began with “All The Way Down (Shadow Pt. 2)” and the momentum would continue to build through “Zugzwang” before entering the centerpiece of the set; “Finding and Losing.” From there fans were treated to the first cover of the night, the Jackson Browne penned “These Days,” which flowed directly into the song “Fragments.”
Keeping with the sentimental vibe, “Island Afterlife” was played next before keyboardist Dani Battat candidly addressed the audience. Showing his genuine appreciation for everyone who came out to the first ever ‘Scramble, Battat acknowledged the significance of this venue, the weekend as a whole and the somber anniversary of Edward “Eggy” Torrance’s passing. A heartfelt rendition of “Watercolor Days” was then played in his honor and brought the potent opening set to a proper close.
Scramble on: A surprise sit-in from Rusted Root’s Michael Glabicki and Ben Atkind of Goose was the highlight of the night (8/5/22)
After a brief intermission, Battat would do his part to wrangle in the stragglers still socializing outside with an extended keyboard solo dubbed “The Genetic Method” which segued beautifully into the intro of our second cover of the night, The Band’s “Chest Fever” which would also be teased throughout the rest of the set. Just down the road from Bearsville, a newer Americana-tinged tune called “Backyard Bear” came next and was followed by a spirited version of the song “Shadow.”
From there came the biggest surprise of the night when Eggy invited a few friends to join them; Michael Glabicki (guitar/vocals) of Rusted Root and Ben Atkind (drums) of Goose. Launching into a cover of Rusted Root’s 1994 smash hit “Send Me On My Way,” the excitement in the room was palpable. The look on each member of Eggy’s face radiating with pure joy, contagious and exhilarating to everyone on stage and in the crowd, if this musical moment didn’t give you chills you may need to consult a doctor.
Striking while the audience was hot, Eggy then rolled out their hardest rocking song of the night, a rare bowling themed tune called “12 Pounds of Pain.” With its infectious and easily identifiable riffage, the band not only took it for a funked-out walk, but also managed to weave in reprise teases of “Chest Fever” and “Send Me On My Way” to bring the exhilarating electric set full circle and leave the audience howling for encore. Happy to scramble on a little longer Eggy invited members of the opening act, the sensational Brad Goodall Trio, along with Goose drummer Ben Atkind, back out for an absolutely joyous cover-of-a-cover of “Don’t Do It.” Originally performed by Marvin Gaye and later made famous by Levon and The Band, the song served as both a fitting tribute and a perfect way to bring the inaugural “Midnight Scramble” to a close.
Check out pro-shot video of Eggy performing “Send Me On My Way” with Rusted Root’s Michael Glabicki and Goose’s Ben Atkind
Feeling inspired and riding the wave momentum, the band plans to enter a recording studio later this week. Along with major festivals like Resonance and Hulaween on their horizon, Eggy have also announced their first ever full headlining tour this Fall. With dates that include stops in Brooklyn, Albany, Syracuse and Buffalo, New Yorkers will soon have plenty of chances to see why this Connecticut quartet is rapidly becoming one of improv music’s most impressive and talked about acts.
For a full list of upcoming Eggy tour dates, see below. For ticketing details, head to the band’s website.
Eggy – “The Midnight Scramble” – Levon Helm Studios — Woodstock – August 5th, 2022
Set 1: All The Way Down (Shadow Pt. 2), Zugzwang, Finding and Losing, These Days[1] > Fragments, Island Afterlife, Watercolor Days[2]
Set 2: The Genetic Method[3] -> Chest Fever[4] > Backyard Bear, Shadow[5] , Send Me On My Way[6] , 12 Pounds of Pain[7] -> Send Me On My Way[8] -> 12 Pounds of Pain
Encore: Don’t Do It[9]
[1] Jackson Browne cover [2] Dedicated to Edward “Eggy” Torrence [3] FTP, The Band, Dani only. The rest of the band joined after for Chest Fever. [4] FTP, The Band cover [5] With Chest Fever (The Band) teases [6] FTP, Rusted Root cover, with Michael Glabicki on guitar and lead vocals, and Ben Atkind on percussion [7] With Finding and Losing teases [8] Rusted Root cover, With Chest Fever (The Band) teases [9] With Brad Goodall on piano, Rodney Elkins on drums and lead vocals, Craig Burletic on vocals, and Ben Atkind on cowbell. Alex on tambourine and vocals
For more photos from Eggy’s inaugural Midnight Scramble, check out the gallery below courtesy of NYS Music Photographer Zak Radick.
Singer-songwriter Denitia is set to release her imaginative new single, “Old Friend,” on August 12 and has announced four upcoming NY-area shows.
Originally from the Houston area, self-taught Denitia explored all types of music as a teenager, including rock, alt-grunge, traditional roots, and more. Growing up performing at praise and worship services shaped her confidence, and the artist recently transitioned from a pop/R&B sound to more of the folk and country realm.
Much of Denitia’s latest work centers around feelings of isolation during the time of the pandemic. That period gave her the space and ability to work on her storytelling. Denitia focused on the feelings of nostalgia and a need for human connection over this time, themes that largely inspire her heartfelt music.
“Old Friend” came out of this pandemic experience, where Denitia wonders about the realities of connecting with an old friend, singing, “Forgive me if I’m doing that thing, Where folks romance all that was / But my memory was dark and it cleared, and you were standing here.” The single is delicate and beautiful in its guitar instrumentation, with Denitia’s ethereal voice capturing the message perfectly.
When the track goes live on Aug. 12, listeners looking for something to sway with and pour over should be sure to play it on repeat. Fans can also expect more music and single releases from Denitia before her album, Highways, is expected on October 14.
Catch Denitia at shows this year as she joins The Black Opry Revue Tour this fall alongside some other amazing talents of the Black country music scene. The tour will play three shows in NY and Denitia will have a solo performance at Levon Helm Studios on Aug 26. For the full list of dates, see below.
New York is already experiencing record breaking temps this summer, but that didn’t stop Gov’t Mule from bringing more heat by playing two fire sets at The Paramount in Huntington, Long Island on Sunday, August 7th. The band, led by guitar legend Warren Haynes, is currently in the middle of a tour that will conclude in January of 2023 with Island Exodus 13 in Jamaica. They will also be doing their New Years run at the Beacon Theatre in New York City on December 30th and 31st.
The August 7th show at The Paramount also paid tribute in the form of covers to greats such as Tom Waits, Elton John and of course The Allman Brothers Band. Set one started with “Traveling Tune” as well as other Mule classics such as “Game Face” with an added “Mountain Jam” interlude, and and a cover of Tom Waits “Make it Rain.” The quartet which also features Jorgen Carlsson on bass, Danny Louis on keys and Matt Abts on drums sounded phenomenal as they ended set one with another Allman Brothers cover “Kind of Bird.”
After a short break, the boys returned to the stage to start the second set with an Elmore James cover of “Blues Before Sunrise” which is also featured on their latest album Heavy Load Blues. Other highlights of set two included an Elton John cover of “Have Mercy on the Criminal” and “Birth of the Mule” which is off of their 1998 album Dose. They also snuck in a little Jimi Hendrix “If 6 Was 9” in the middle of “Larger Than Life” which was also on the 1998 album Dose. They concluded the second set with “Thorazine Shuffle”, yet another song of of their second album Dose.
The encore paid tribute to Jerry Garcia and The Grateful Dead by interjecting “The Other One Jam” in the middle of “Fallen Down” from their 2000 album Life Before Insanity. You can see all of the remaining Gov’t Mule tour dates here.
Setlist: Traveling Tune, Blind Man in the Dark, Steppin’ Lightly, Game Face / Mountain Jam / Game Face, Make It Rain (Tom Waits cover), Come and Go Blues (Allman Brothers cover), Which Way Do We Run, Kind of Bird (Allman Brother Band cover), Blues Before Sunrise (Elmore James cover), I Asked For Water, (She Gave Me Gasoline)(Howlin Wolf Cover), Have Mercy on the Criminal (Elton John cover), Birth of the Mule, Monkey Hill, Stone Cold Rage, Larger Than Life / If 6 Was 9 / Larger Than Life, Thorazine Shuffle
Encore: Fallen Down / The Other One Jam / Fallen Down
Guitarist, composer, arranger, lyricist, writer, educator, and vocalist Joel Harrison has “created a new blueprint for jazz,” as said by the New Orleans Times-Picayune. He has released 23 CDs as a leader on seven different labels and is the founder and director of the Alternative Guitar Summit, a yearly festival devoted to new and unusual guitar music.
In collaboration with the Alternative Guitar Summit, Harrison will be sponsoring and hosting three different events in New York. The events are The Music of the Woodstock Festival, Jazz Guitar event of the decade, and Joel Harrison Quartet.
The Music of the Woodstock Festival
On the Woodstock festival anniversary, Harrison and his all-star team of improvisers, including NYC-based African American vocalists Everett Bradley, Nicki Richards, and Keith Fluitt, will be playing new takes on the music at the 1969 festival. They will be playing at The Colony in Woodstock on Aug. 12, at 8 P.M. and tickets are on sale here.
Joel Harrison Quartet
The Joel Harrison Quartet will be playing at Lydia’s Cafe in Stone Ridge in a laid-back, local affair on Aug. 20 from 7:30-10 P.M., and tickets are on sale now.
The Jazz Guitar Concert of the Decade!
The jazz guitar concert of the decade will feature Bill Frisell, John Scofield, Kurt Rosenwinkel, and Mike Stern, who are the four pillars of the jazz/ funk/rock/alt guitar scene. The concert will be happening at the Bearsville Theater in Woodstock at 8 P.M. on Aug. 26, and tickets are on sale here.
After three successful shows here last year, Phish and its summer tour returned to Atlantic City over the weekend of August 5-7. Night one of the three-show run went off without a hitch, with a setlist full of classic tunes mixed with newer jam vehicles. With the stage set up right between the legendary Atlantic City Boardwalk and the ocean itself, each set, and even the encore, had some decidedly shore-like vibes.
The night began with the venerable “Chalkdust Torture” in the opening spot, with its customary high-energy thrust to get things started. A sudden shift to “Wilson” followed, eliciting cries of the same from beach folk throughout. Things then got decidedly funky with the next clean segue into the all-too-appropriate “Sand,” with Mike Gordon leading the rhythmic charge on bass. The opening set also featured a moody “Theme From The Bottom” with its aquatic undertones only adding to an already picturesque setting.
The first set’s closing sequence was one to behold, starting with a “Sigma Oasis” that yielded a mesmerizing jam that saw the song get stretched out further than it ever has before. Eventually, the familiar opening chords to “Cities” took form and Phish launched into this always welcome cover song. The set then came to a close with a brief but euphoric “More.”
The second set saw the jam button still very much in the “on” position, with stalwarts like “Soul Planet,” with its ocean-filled lyrics, and “Down With Disease” prominently involved. And nestled in between the start and finish of “Disease” was the aptly-titled “Ruby Waves.” This newer addition to the Phish catalog, pulled from guitarist’s Trey Anastasio’s ever-expanding solo material, continues to explore new roads and push boundaries of live improvisation.
The second set came to a close with a pairing of Phish heavy hitters. “Story Of The Ghost” featured its traditional roundhouse punch of rock, this time with some serious “No Quarter” teases thrown in for good measure. “Harry Hood” then tied a bow on the set, with a brilliant jam that patiently built to an especially joyous peak. A “Sleeping Monkey” that certainly “took it on down the shore” served as a more than fitting encore selection before a surprising, but explosive, “Free” served as one last final jam to whet the collective appetite for what’s sure to be another two nights of incredible music.
Phish Atlantic City Beach – Atlantic City, NJ 8/5/22
Set 1: Chalkdust Torture->Wilson > Sand > Plasma, Theme From The Bottom > Back On The Train, Sigma Oasis->Cities > More
Set 2: Axilla (Part II) > Soul Planet >Down With Disease > Ruby Waves > Down With Disease> Ghost> Harry Hood
Encore: Sleeping Monkey > Free
Soul Planet contained a tease of Dave’s Energy Guide from Trey and a tease of Dog Log from Mike. Trey teased Midnight Rider in the first Down with Disease and No Quarter in Ghost. Shipwreck was quoted in Sleeping Monkey. Mike teased Dave’s Energy Guide in Free.
Saturday night’s show in Atlantic City may not have had as many aquatic themes as its predecessor, but the jams continued to be rich and plentiful. The opening set began in fairly tame fashion with a straightforward “46 Days” that steered right into “The Moma Dance” in its familiar two-spot in the lineup. “Olivia’s Pool,” aka “Shafty” before “Shafty,” then made another rare appearance, only the third one since being revived at Alpine Valley in 2019 after a near 22-year shelving.
A first set “Bathtub Gin” finally offered some of the first real intensive jams of the evening, with Page McConnell throwing down vigorously on both the baby grand and electric pianos. Fittingly, Phish then dusted off another number, this time it was Page’s “Heavy Rotation” from his self-titled 2007 album. It was the first one performed in more than seven years and only the second one ever. And instead of ending the first set in typical fashion, Phish tacked on a rip roaring cover of David Bowie’s “Moonage Daydream,” with Trey Anastasio unleashing a bevvy of musical peaks with his soloing efforts.
Saturday’s second set started with some Atlantic City fireworks in the background and maintained that explosive demeanor throughout, starting with a set opening “No Men In No Man’s Land.” The ensuing jam then progressed into a “Tweezer” that almost felt expected at that point, with the second set staple offering another ample platform for improv. Another second set favorite in “Simple” was played to perfection and later transitioned into a “Backwards Down The Number Line” that had the entire beach kicking up sand in various directions.
The set then closed with another pairing of Phish classics. “Golgi Apparatus” featured a stretched out and somewhat different ending, showing the band continue to rework songs that have long been established. “Slave To The Traffic Light” then brought another complete second set to an end before an encore of “A Life Beyond The Dream” > “Tweezer Reprise,” ironically the same exact encore of last year’s middle night, sent everyone on their way along the Atlantic City Boardwalk.
Phish Atlantic City Beach – Atlantic City, NJ 8/6/22
Set 1: 46 Days > The Moma Dance, Olivia’s Pool > My Soul, 555 > NICU > Bathtub Gin, Heavy Rotation > Character Zero, Moonage Daydream
Set 2: No Men In No Man’s Land > Tweezer, Set Your Soul Free > Simple > Backwards Down The Number Line > Golgi Apparatus > Slave To The Traffic Light
Encore: A Life Beyond The Dream, Tweezer Reprise
Trey teased Norwegian Wood in 555. Heavy Rotation was performed for the first time since July 22, 2015 (253 shows). Trey teased Under Pressure in Simple. During the soundcheck, Beth was briefly sung by Trey and Knuckle Bone Broth Avenue contained Shipwreck quotes as well as If I Only Had A Brain teases from Trey and Mike.
With one night left to play, Phish treated Atlantic City to a customarily thorough and enjoyable Sunday show. “Wolfman’s Brother” kicked things off, the first time its done so for a show since 2016, and the band instantly got locked back in with another groove-centric jam. This carried right over in the “Tube” that followed and wasted no time finding a path all its own courtesy of a jam that changed both keys and moods. An opening set “Fluffhead” was well received as Phish navigated their way through this vintage tune with relative ease. “Gumbo” found a nice home towards the end of the set which came to a rousing finish thanks to “Carini” and another breakneck jam created in its wake.
The band found no reason to stray far from the classics in the second set, made evident with a traditional “Mike’s Groove” sequence that got everything started. A breath of “new” air was inserted with “A Wave Of New Hope” with this addition continuing to impress by producing one monstrous jam after another. A flawless “You Enjoy Myself” then followed, with yet another “second” jam following the vocal one, another sign of Phish continuing to tinker with the classics. An encore pairing of “Wading In the Velvet Sea” and “First Tube,” replete with Anastasio guitar theatrics, then closed out the second, and hopefully not the last, run for Phish on the beach of Atlantic City.
Phish Atlantic City Beach – Atlantic City, NJ 8/7/22
Set 1: Wolfman’s Brother, Tube, Mountains In The Mist, Ocelot > Fluffhead, Mecury > Gumbo > Carini
Set 2: Mike’s Song > I Am Hydrogen > Weekapaug Groove, A Wave Of New Hope > You Enjoy Myself > Suzy Greenbeg
From Aug. 29-31, the Blue Note Jazz Club will honor and celebrate the life and music of legendary Rolling Stones’ drummer Charlie Watts. Each night will hold two shows, beginning at 8 p.m. and 10:30 p.m. respectively.
The series of shows will feature members of The Rolling Stones Touring Band, Bernard Fowler, Darryl Jones, and Tim Ries, as well as special guests. Other features include David Gilmore, Gary Versace, and Jeff “Tain” Watts.
Charlie Watts became a member of the iconic rock ‘n’ roll band in 1963, and helped The Rolling Stones gain immense popularity with tracks such as “(I Can’t Get No) Satisfaction,” “Get Off My Cloud,” and “Paint It, Black.” With his subtle and reserved personality, but talent and inspired drums, the musician gave the band the beat it needed for over 50 years. During his music career, Watts also toured with his own group, the Charlie Watts Quintet.
The iconic drummer passed in 2021 but is often regarded as one of the best drummers of all time. A Rock ‘n’ Roll Hall of Famer, husband, father, and grandfather, Watts surely left behind a legacy few would soon forget. Blue Note Jazz Club’s concerts in Watts’ honor will begin on Aug. 29 with shows at 8 p.m. and 10:30 p.m. with special guest Randy Brecker. On Aug. 30 and 31, the concert will feature guest John Patitucci.
Tickets for the celebration can be purchased on the Blue Note Jazz Club website. Attendees can enjoy a full bar and dinner menu, and there will be a required $5 minimum per person. All seating is first come first serve. Table seating for the event is for all ages, but bar area tickets are only for patrons over 21.
Phish played the Blossom Music Center in Cuyahoga Falls, Ohio on August 2, following a night off after a fantastic run in Maryland. The Blossom Music Center is a special place, a beautiful wooden, wedge-like structure nestled in the forests of Ohio. If you are from New York, I would highly recommend you make the trip if you have not yet, it’s certainly up there with the best sheds around. This was my first time there, but it certainly won’t be my last.
The band started the night off with a nice acapella version of “Strawberry Fields Forever,” which they played for only the second time. “Crowd Control” was up next, and then a mid-set “Punch You In The Eye.” After this was a short “46 Days” before delighting the crowd with a “You Enjoy Myself.” They did a short vocal jam before dropping back into another second “YEM” jam, which the crowd ate up. Keeping the funk going, was a short “Tube” before slowing things down with a “Shade.” A gorgeous “Reba” was a perfect soundtrack to the color leaking from the sunset sky. They wrapped the set up with the staple set closer of “Cavern.”
Phish has really been feeling “Free” this summer, and they opened up the second set with a monster 25-minute version. “Esther” was next, which they unfortunately struggled through due to Trey’s guitar being out of tune. “Blaze On” followed, the jam was on the shorter side, and then Trey started off “Scents and Subtle Sounds.” As they worked their way through the composition, the sound twice completely cut out for a few seconds. The band played through it and either didn’t notice or they tried to make it up with what was probably the jam of the night. This version was heavy on the dark funk, with a gorgeous ambient outro. Maybe it was a nod to the night being the 19th anniversary of the IT music festival from 2003, which was the band at their peak in ambient jamming, but probably not. A short but sweet “2001” got the whole place dancing, before a wild and beautifully cacophonous “Split Open and Melt” had some in the crowd staring at the stage in awe.
It was amusing to see the confusion and then elation as the Page started up “Bathtub Gin” for the encore. Even though the band was a little bit short on time, they were able to cut out the fat and immediately get right to the good stuff as the jam matured into a some very opulent themes and textures before wrapping up the night.
Phish Blossom Music Center – Cuyahoga Falls , OH 8/2/22
Soundcheck: Funky Bitch, My Soul, Crowd Control (this soundcheck is possibly incomplete)
Set 1: Strawberry Fields Forever, Crowd Control, Punch You in the Eye > 46 Days > You Enjoy Myself, Tube > Shade, Reba, Cavern
Set 2: Free > Esther > Blaze On > Scents and Subtle Sounds > Also Sprach Zarathustra > Split Open and Melt
Encore: Bathtub Gin
Strawberry Fields Forever was performed for the first time since July 22, 2017 (168 shows). Fish quoted Strawberry Fields Forever in the YEM vocal jam and in the jam that followed. Trey teased Also Sprach Zarathustra at the end of Gin.
After teasing their first new album in over a decade with two new songs, The Mars Volta have made it official: The Mars Volta will be released on September 16th via Clouds Hill Records. Pre-orders for the album, along with standard and “Kinetic Edition” vinyls packages are live on the band’s website.
‘The Mars Volta’ Cover Art
Back in June, The Mars Volta teased their return from a 10 year hiatus with an audio-visual installation dubbed L’YTOME HODORXÍ TELESTERION. The exhibit was an immersive cube you could enter and hear the lead single (and album opener) “Blacklight Shine”. The following month in July, the band shared a second new song “Graveyard Love” and both songs were accompanied by videos depicting various aspects of music and culture on the island of Puerto Rico. Last Friday, The Mars Volta shared the latest single and music video for “Vigil” – check it out below.
“Vigil” by The Mars Volta. Via YouTube.
These new songs are a noticeable departure from the band’s signature frenetic prog-rock sound. Fans online are praising the new style as the band successfully adopting an accessible pop sound, but it goes much further than that. All of these songs contain various elements of The Mars Volta’s entire catalog, just packaged in a much more cohesive (and concise) way. “Blacklight Shine” is driven by bongo-dominant Caribbean percussions and vocalist Cedric Bixler-Zavala’s lustful Spanish vocals. “Graveyard Love” starts off with ominous pulsing synths and punchy bass notes, building up to a climax where Cedric’s vocals are battling a swirling synth and scattered drum hits.
Cedric Bixler-Zavala (left) and Omar Rodríguez-López (right). Shot by Fat Bob on Leica M11.
At first, “Vigil” is a jarring juxtaposition to any song The Mars Volta has ever written, but put together with the previous singles, the song is a visceral and cohesive part of the new approach the band is taking. The song kicks off with a sporadic but steady drum beat and Cedric singing a dark ballad about the weight and deceit of lost love before the song structure breaks down into swirling vocal and drum loops. Cedric also notes about the song “And the obits wait for a perfect name.”
Diving into the vocals of the band’s catalog is a tough exercise in deciphering broken “Pynchon-esque” passages. On The Mars Volta the band has endeavored to streamline all aspects of the music including the theme. While the vocals are still mysteriously dark, they tell the most cohesive stories the band has ever told all while circling back to the central theme of Puerto Rican culture and the endless colonial rule implemented by the United States over the island.
The Mars Volta 2022 Tour Dates
According to a press release, “The new album shakes loose some of band’s long-standing shibboleths, with only two tracks lasting longer than four minutes, and the dizzying, abrasive prog stylings of earlier albums absent. The Mars Volta pulses with subtle brilliance, Caribbean rhythms underpinning sophisticated, turbulent song craft.” The album rounds out at 14 tracks, and if the first three are the foundation for this new evolution, the record is going to be a shining example of what a band can be, 10 years after many thought there would be no more.
The US tour kicks off one week after the album is released, on September 22nd in Dallas, Texas. The tour stops at NYC’s Terminal 5 for two shows on September 29th and 30th (both are sold out). Head over to the band’s website to see the full tour details, and to pre-order the new album.
